The Galaxy Playlist

March 3rd, 2008

The Easter Parade rounds the first block...... and finds an Anniversary party!

Continuing our series of works celebrating the Easter season. But we also have a dual mode tonight - the 12th Anniversary of the premiere of the Galaxy! We aren't really doing anything extraordinarily special for the Anniversary tonight, but as it so happens, our selection of music is fairly representative of what we try to do every week. Just the type of thing that I like to do for Anniversary shows.

Composer's name is listed where notable (i.e. Classical Performance, Jazz Performance).

For more information on any of the rock, pop and Jazz music featured on this program, I frequently utilize AllMusic , an excellent free database holding a huge plethora of information about music and the artists that make it.

Composer	Performer	Title	Genre	Label	Notes
J.S. Bach	Bach Colledium Japan, Masaski Suzuki, dir, -w- Yukari Nonoshita (sop), Patrick van Goethem (counter-tenor), Jan Kobow (tenor), Chiuki Urano (bass)	Easter Oratorio (Kommt, Eilet und Laufet), BWV 249	Classical, Baroque, Oratorio for solo voices and chorus with orchestra and continuo	BIS, 2005	First written in February 1725 as a secular cantata written for the birthday of the Duke of Sachsen-Weißenfels, and rewritten for the Leipzig Easter service held on 1 April 1725, and revised 3 times afterwards, the final revision being completed in 1749. Here we hear the final version that was performed on 6 April 1749, 2 days after the performance of the final version of his St. John's Passion (which we shall hear in a few weeks). This is a compelling piece of music, especially with parts like the soprano aria Seele, deine Spezereien.
Bob Dylan		Just Like Tom Thumb's Blues	Rock, Folk	Columbia, 1998	A set from the infamous performance from 5/17/1966 in Manchester, England, notable for Dylan's response to an audience member shouting out "Judas!" prior to their performance of Like A Rolling Stone. We hear The Band, minus Levon Helm, backing Dylan (Mickey Jones played drums). Between songs, you can hear the protests of the audience. Here, we have a perfect example of the confluence of influence that we try to display on our show - Dylan influenced the mid-60s generation of rock music (i.e. the Beatles, the Beach Boys, the Byrds, etc.), yet he was influenced by them as well. But the performance here goes beyond that. It's hard to resist including this legendary performance of Like a Rolling Stone here - it's like he's singing directly to the hostile audience - "you'd better get used to it.... how does it feel?.....to be on your own?" He's not just singing, he's spitting a trail of fire. The Band is in good form here too, especially given that the hostility was such that Levon Helm left the tour early because of it.
		Leopard-Skin Pill-Box Hat
		One Too Many Mornings
		Ballad of a Thin Man
		Like A Rolling Stone
John Coltrane, -w- Eric Dolphy (bass clarinet, alto sax), McCoy Tyner (piano), Reggie Workman (bass), Elvin Jones		Miles' Mode	Jazz, Post-bop, Avant Garde	MCA, 1997	Again, another fine example of what we try to demonstrate on the Galaxy, the confluence of influences that shape music. Coltrane (or, rather, Dolphy, who wrote the tune) based Miles' Mode on a 12-tone row, echoes of the 12-tone serialist technique pioneered by classical composer Arnold Schoenberg. The result is some simply astounding music.
		Naima	Jazz, Post-bop, Avant Garde	MCA, 1997
The Bad Brains		Right Brigade	Punk, Hardcore	Caroline, 1987
The Bad Brains		House of Suffering	Punk, Hardcore	Caroline, 1987

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Last Update: March 3rd, 2008

Email: saxman@siu.edu

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